Gérard Schneider is one of the pioneers of lyrical abstraction, alongside Hans Hartung and Pierre Soulages.Trained in decorative painting, Schneider turned to abstraction in 1945, at the age of 49. A central figure in the Parisian postwar renewal, he quickly gained international recognition, particularly in New York, where he exhibited at the Kootz Gallery, which also showcased Soulages.

Large-format works were rare in the 1950s. Opus 93B is one of only three paintings in the so-called “100-figure” format created in 1955. That same year, Schneider’s style evolved toward a more marked lyricism, with compositions structured by broader and freer gestures. Opus 93B is composed of sweeping movements punctuated by red, yellow, and white. Exhibited many times worldwide, this work stands as a major piece of the 1950s, emblematic of postwar lyrical abstraction.